In celebration of Jason Bishop: Believe in Magic, coming soon to The New Victory Theater, we spoke to Manhattan's resident history buff Tim Dolan about one of Jason's idols—Harry Houdini—and his time on 42nd Street.While Broadway is mainly known for big budget musicals and plays, magicians, like the The New Victory's upcoming illusionist Jason Bishop, have always been in the mix. As early as 1899, Harry Houdini was performing his handcuff escapes in vaudeville theaters all over America, eventually appearing throughout his career at a handful of Broadway theaters in Times Square. He made his last Broadway appearance in 1926 alongside his wife Bess just one block south of The New Victory at The Nederlander Theatre (then called The National) on 41st Street.

While Houdini never performed on the mainstage of the New Vic, he did perform on the roof! Rooftop garden theaters began to pop up in Times Square to provde open-air entertainment during the hot summer months in a pre-air conditioned world. Always incorporating some sort of floral element for a "garden feel," each rooftop presented small revue shows, magicians, acrobatic performances and famous comedians of the day. Oscar Hammerstein I, who built The New Victory in 1900, created the Paradise Rooftop Garden atop his theater to rival others in the area. It was outfitted with over 600 seats (over 100 more seats than inside the New Vic today) and a metal covering overhead to protect patrons from rain.

During the summer of 1912, Houdini erected a 5,500-gallon water tank centerstage at the Paradise Rooftop Garden. In front of a packed audience, he escaped from leg shackles and handcuffs while in a submerged box that had been nailed shut and encased in chains. After performing this trick successfully the week prior in New York's East River, this was the first performance of the act inside of a theater. He would later perform the same feat at New York's largest theater, The Hippodrome, on Sixth Avenue—just a few blocks to the east of The New Victory Theater.

The "overboard box escape" wasn't the only act Houdini performed at The Hippodrome. On January 7th, 1918, Houdini walked onstage in front of thousands of World War I soldiers in uniform who were preparing to embark on their first tour overseas—he carried with him a few different sets of handcuffs. To thank them for their patriotism, Houdini prepared an educational performance. It's widely known that magicians like Houdini and Jason Bishop never reveal their secrets, but for this performance, Houdini did just that. He demonstrated how to escape the restraints of German handcuffs, how to free oneself from jail cells and what to do if trapped under water.

Gizmo and Jason! Photo: Alexis Buatti Ramos

While the performance was meant to be educational, Houdini unveiled a new trick at the conclusion for an entertaining twist. The troops watched as stagehands brought out an enormous cabinet and placed it center stage, followed by one other performer: Jennie, the daughter of P.T. Barnum's world famous elephant Jumbo. Jennie, Houdini explained, would be the first elephant he would ever make disappear. After having Jennie perform a few of her standard circus tricks, Houdini loaded her into the cabinet, placed a curtain over the front and waited. After a few minutes Houdini removed the curtain to reveal…an empty cabinet. To this day, Houdini's notes for the vanishing elephant trick have not been found, and it is his only act that remains shrouded in mystery. While Jason Bishop's animal assistant, Gizmo, is quite a bit smaller than Jennie, you can still expect some mind blowing illusions starring the pint-sized pup.

As audiences settle into the plush seats of The New Victory Theater to enjoy the magic of Jason Bishop: Believe in Magic, they are joining the millions of audience members before them who have been fascinated by other illusionists on Broadway, Off-Broadway and in vaudeville theaters all over the United States—and are just a few floors below the same spot where Houdini conjured up his magic 105 years ago!

Oh, the weather outside is frightful, but this show is so delightful! Back by popular demand after last season's sold-out run, Jason Bishop returns with even more tricks (and wry one-liners) up his sleeve. Get your tickets to Jason Bishop: Believe in Magic today!

Flo Wolston stands out for her glamour and poise, but behind the perfectly done makeup, she is a veritable treasure trove of New York City history. During the 1930s, she saw the rise and inevitable fall of Minsky's Republic. Does that name sounds familiar? Before it became The New Victory Theater, the theater had many names.

In the 1930s, Billy Minsky opened Broadway's first burlesque club, naming our beloved theater Minsky's Republic. The theater facade featured a bold checkerboard pattern with the faces of Minsky's biggest stars, including Gypsy Rose Lee. Inside, black-tie attire was strictly required. Doormen were dressed as French cavalrymen, and the female ushers wore French maid costumes and squirted perfume on patrons as they entered. And famously, down the center of the orchestra, was a double runway that put Minksy's showgirls, including Ms. Wolston, as close to the patrons as possible.

As she celebrates her 100th birthday on Friday, August 25, we look back with her to a time of a jazz-filled Midtown, after-hours clubs with Liberace, and the perfect corned beef sandwich on rye. Start up a playlist of days long gone and wish Flo a happy birthday with us, here at The New Victory Theater!

What is the biggest way New York has changed since your time as a Minsky's dancer?
There are less delis, no booking agents and too many big syndicates to count. TV has really changed live entertainment. For instance, there used to be a bunch of small jazz clubs on 52nd St. Now, you can only find large venues in Midtown.

Was 42nd Street as crowded and busy in the 1930s as it is today?
Yes, 42nd St was always this busy. It hasn't changed. I love seeing the theater still in use!

How did the Great Depression affect Minsky's Republic?
The Great Depression didn't affect Minsky's at all. Back then, tickets were only 35 cents, 50 cents and $1.

Did you ever meet any celebrities?
I didn't meet any celebrities at Minksy's. But after it closed I worked with Jackie Gleason at La Conga and met actor Ray Milland and his wife. At the after-hours club Spivey's Roof, I became friends with Liberace who you could find playing the piano there most nights.

Where are you from? What did your family say when you moved here and started performing at Minsky's?
I was born in Philly and moved to NYC when I was four-years-old. I earned $50 a week (about $900 today), so my family didn't mind that I worked at Minksy's at all. In fact, my dad would stop backstage to visit me, and my uncle would even catch a show from time to time.

What was your favorite place to eat while you worked on 42nd Street? Is it still there?
My favorite place to eat was at the Stage Door Deli on 47th Street near the Gaiety Theater. It's no longer there, but I always used to get a corned beef sandwich with mustard on rye.

What was your audience like?
Audience members at that time were mostly men. People assume that the audience was wild but, in fact, you couldn't be rowdy or you'd be thrown out immediately. It was all very well controlled.

How was the experience of attending a show different in the 30s compared to today?
Well, the prices today are ridiculous. Also, I miss seeing tap dancing and toe dancing (pointe). You don't see that in most shows anymore.

What was your reaction to Mayor LaGuardia shutting down Minsky's? Do you think it was the right call?
I was in disbelief when Mayor LaGuardia shut down Minsky's. Absolutely devastated. It took away a steady paycheck, which was not a good time for us performers. Looking at all of the risque entertainment that exists today, I can honestly say it never should have closed.

Tell us about your favorite costume!
I didn't have a favorite costume. We just wore sparkly underwear!

New York City's first and only full-time performing arts theater for kids, their families and classmates. Each year, The New Victory presents a full season of adventurous multidisciplinary works from around the globe and close to home.